Kenneth Branagh Quotes
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Everything is important, but there is a weight to these big or expected things and then there is the logistics of them and it's trying to find, while you worry about for instance the ballroom scene, how do you get 500 people to go to the loo in corsets and don't cost you an hour and how do you remember while you're organizing all that to take a breath and say, 'Well the scene is about all of that and it's about Prince hand on the small of Cinderella back as well' and we need time to do that properly as well.
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The long version of the play is actually an easier version to follow. In all of the cut versions the intense speeches are cut too close together for the audience and the actors.
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The ferocity of passion that is engendered by people when they don't like what you've done is really tremendous. It's intense.
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I feel more Irish than English. I feel freer than British, more visceral, with a love of language. Shot through with fire in some way. That's why I resist being appropriated as the current repository of Shakespeare on the planet. That would mean I'm part of the English cultural elite, and I am utterly ill-fitted to be.
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One of the things that makes Hamlet unique among Shakespeare's characters is his courage to face up to the darker elements of his personality.
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Frankenstein feels like an ancient tale, the kind of traditional story that appears in many other forms. It appeals to something very primal, but it's also about profound things, the very nature of life and death and birth - about, essentially, a man who is resisting the most irresistible fact of all, that we will be shuffling off this mortal coil.
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I think the truth is the Marvel fiefdom exists very independently inside the Disney world, inside the Disney universe. They're not resistant to that kind of thing but they have their, you know there is a whole sort of machine energy and momentum that is the sort of creative drive behind the whole universe that has a big impact on the individual films. I'm glad those scenes got out there. And we've got a few interesting deleted scenes on this.
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Friendship is one of the most tangible things in a world which offers fewer and fewer supports.
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It's quite hard for people to just accept that they're very contradictory.
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It's very strange that the people you love are often the people you're most cruel to.
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It doesn't mean old or younger. I've learned a lot from people much younger than me as well as people much older than me. So I think it's about honesty and generosity.
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If you've been to Moscow, it's a really exciting and great city, but it still feels like you should be a little careful about which way you're going to step.
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Sometimes it comes out in what I call tricksy behavior. That's not always easy to deal with, but it's fascinating. The key thing is to make sure that somebody's tricks don't trip up somebody else.
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I think that a lot of exciting elements are finding a place where a film is happily, truly about something.
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It's no accident that Cinderella has been in the culture for thousands of years, and in cross cultures. I've traveled a bit recently, and in Russia, they completely believe they own this tale. And in Italy, they feel it absolutely is part of who they are. There is a timeless web to it.
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When I'm acting, I'm in the director's hands. I'm very happy to be. I like to be focused on what I'm doing.
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Hamlet and Victor Frankenstein are each obsessed with death. Hamlet's whole story is a philosophical preparation for death; Victor's is an intellectual refusal to accept it.
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With people in corsets you need, an hour and a half in you have to give somebody something, you have to have those trays with a little bit of fruit going around or something because you get that blood sugar [dropping] thing, so it's curious because that's in your mind at the same time as you're about to say, 'I think it's about the humanity and the depth of feeling and we need to feel [Cinderella] soul expand and by the way, more cheese for the people in the back.'
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The elasticity of Shakespeare is extraordinary.
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We're self obsessed and mad and stupid - not that other people can't be the same way - but the extremes are kind of honest in some mad way. Anyway, I like them.
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I'm basically quite a cheerful person.
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Helena Bonham-Carter and I sat down to talk about [Cinderella movie] and she said, 'I really want to do it but only one thing I insist on and that's wings.' She had to have wings and [costume designer] Sandy Powell didn't want wings to begin with but had to be talked around, but that was fun.
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My definition of success is control.
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I looked at the 1950 animated film [Cinderella], I read a couple of editions of the fairy tale that I have in my house and all of it seemed to say that there was room for a version that delivered, in this story, which seems to invite a feeling in people and I think that is some version of a classical world.
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In the hands of a great poet, words have ways of affecting us in ways we don't understand.
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Two billion people watched the royal wedding. Clearly, they're interested in that - the outside of what appears to be lives that have a certain amount of privilege. They have gifts, they have history, they have a sort of unusual and separate position, which maybe involves paying a price.
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I've heard from quite a few people, you sense that there is an ownership of the [ Cinderella], it was so personal for so many people, so I was interested in trying to work out why that was.
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If it's good art, it's good.
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Across all Cinderella versions it was clear that the 21st century was not very much in evidence, particularly in the character of Cinderella so it seemed, it felt actually as though it hadn't been done for quite some time, not with the kind of lushness that we could do it with, with an absolute removal of the passivity of Cinderella and finding an amusing way, a lighthearted but significant way of making her proactive and not a girl who's life is about waiting for a bloke.
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I don't think Hamlet is mad, nor is he predisposed to be a gloomy or tragic figure.
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